DIANE ARBUS Press Kit

October 18, 2011 - February 5, 2012

1 place de la Concorde · Paris 8 E· · M° Concorde

www.jeudepaume.org – www.jeudepaume.org/lemagazine
 INSTITUTIONAL PARTNERS
This exhibition has been organized by Jeu de Paume, Paris,
in collaboration with The Estate of Diane Arbus LLC,
and with the participation of Martin-Gropius-Bau Berlin,
Fotomuseum Winterthur and Foam_Fotografiemuseum Amsterdam.

The exhibition is supported by La Manufacture JAEGER-LECOULTRE,

major partner of Jeu de Paume.

Acknowledgments to the Embassy of the United States of America in Paris, France.

Special thanks to the Hyatt Regency Paris-Madeleine.

Jeu de Paume receives a subsidy from the ministry of Culture and Communication.
It gratefully acknowledges support from NEUFLIZE VIE, its global partner.

MEDIA PARTNERS
À Nous Paris, Arte, Artinfo, Azart Photographie, Courrier international,
de l’air, La Tribune, Polka Magazine, Vogue Paris and FIP.

EXHIBITION VENUES
Fotomuseum, Winterthur (March 3 – May 27, 2012)
Martin-Gropius-Bau, Berlin (June 22 – September 24, 2012)
Foam_Fotografiemuseum, Amsterdam (October 26, 2012 – January 13, 2013)

Front Cover: Child with a toy hand grenade in Central Park, N.Y.C. 1962
Untitled (6) 1970–71

1
 Identical twins, Roselle, N.J. 1967

2
THE EXHIBITION
Diane Arbus (New York, 1923–1971) revolutionized the art she practiced. Her bold subject matter and
photographic approach produced a body of work that is often shocking in its purity, in its steadfast celebration
of things as they are. Her gift for rendering strange those things we consider most familiar, and for uncovering
the familiar within the exotic, enlarges our understanding of ourselves.

Arbus found most of her subjects in New York City, a place that she explored as both a known geography and
as a foreign land, photographing people she discovered during the 1950s and 1960s. She was committed to
photography as a medium that tangles with the facts. Her contemporary anthropology—portraits of couples,
children, carnival performers, nudists, middle-class families, transvestites, zealots, eccentrics, and celebrities—
stands as an allegory of the human experience, an exploration of the relationship between appearance and
identity, illusion and belief, theater and reality.

In this first major retrospective in France, Jeu de Paume presents a selection of two hundred photographs that
affords an opportunity to explore the origins, scope, and aspirations of a wholly original force in photography.
It includes all of the artist’s iconic photographs as well as many that have never been publicly exhibited. Even
the earliest examples of her work demonstrate Arbus’s distinctive sensibility through the expression on a face,
someone’s posture, the character of the light, and the personal implications of objects in a room or landscape.
These elements, animated by the singular relationship between the photographer and her subject, conspire to
implicate the viewer with the force of a personal encounter.

3
 BIOGRAPHY
Diane Arbus was born in New York City on March 14, 1923, and attended the Ethical Culture and Fieldston
Schools. At the age of eighteen she married Allan Arbus. Although she first started taking pictures in the early
1940s and studied photography with Alexey Brodovitch in 1954, it was not until 1955-57, while enrolled in
courses taught by Lisette Model, that she began to seriously pursue the work for which she has come to
be known.

Her first published photographs appeared in Esquire in 1960 under the title The Vertical Journey. From
that point on she continued to work intermittently as a free-lance photographer for Esquire, Harper’s Bazaar,
Show, The London Sunday Times, and a number of other magazines, doing portraits on assignment as well as
photographic essays, for several of which she wrote accompanying articles.

During the 1950s, like most of her contemporaries, she had been using a 35mm camera, but in 1962 she
began working with a 6x6 Rolleiflex. She once said, in accounting for the shift, that she had grown impatient
with the grain and wanted to be able to decipher in her pictures the actual texture of things. The 6x6 format
contributed to the refinement of a deceptively simple, formal, classical style that has since been recognized as
one of the distinctive features of her work.

She received Guggenheim Fellowships in 1963 and 1966 for projects on “American Rites, Manners and
Customs” and spent several summers during that period traveling across the United States, photographing
contests, festivals, public and private gatherings, people in the costumes of their professions or avocations, the
hotel lobbies, dressing rooms and living rooms she had described as part of “the considerable ceremonies of our
present.” “These are our symptoms and our monuments,” she wrote in her original application. “I want simply
to save them, for what is ceremonious and curious and commonplace will be legendary.”

The photographs she produced in those years attracted a great deal of attention when a selected group of them
were exhibited, along with the work of two other photographers, in the 1967 “New Documents” show at the
Museum of Modern Art. Nonetheless, although several institutions subsequently purchased examples of her
work for their permanent collections, her photographs appeared in only two other major exhibitions during her
lifetime, both of them group shows.

In the late 1960s she taught photography courses at Parsons School of Design, the Rhode Island School of
Design and Cooper Union and in 1971 gave a master class at Westbeth, the artists cooperative in New York
City where she then lived. During the same period she initiated the concept and did the basic research for the
Museum of Modern Art’s 1973 exhibition on news photography, “From the Picture Press.”

She made a portfolio of ten photographs in 1970, printed, signed and annotated by her, which was to be
the first of a series of limited editions of her work. She committed suicide on July 26, 1971 at the age of
forty-eight. The following year the ten photographs in her portfolio became the first work of an American
photographer to be exhibited at the Venice Biennale.

In the course of a career that may be said to have lasted little more than fifteen years, she produced a body
of work whose style and content have secured her a place as one of the most significant and influential
photographers of our time. The major retrospective mounted by the Museum of Modern Art in 1972 was
attended by more than a quarter of a million people in New York before it began its tour of the United States
and Canada. The Aperture monograph Diane Arbus, published in conjunction with the show has sold over
300,000 copies. Beginning in 2003, Diane Arbus Revelations, an international retrospective organized by The
San Francisco Museum of Modern Art travelled to museums throughout the United States and Europe between
2003 and 2006. Major exhibitions devoted exclusively to her work have toured much of the world including,
Australia, Germany, Italy, Japan, the Netherlands, New Zealand, Spain, and the United Kingdom.

4
A young man in curlers at home on West 20th Street, N.Y.C. 1966

5
 QUOTES ON THE SUBJECT OF . . .
PLATO:
“There are and have been and will be an infinite number of things on earth. Individuals all different, all
wanting different things, all knowing different things, all loving different things, all looking different.
Everything that has been on earth has been different from any other thing. That is what I love: the
differentness, the uniqueness of all things and the importance of life... I see something that seems wonderful; I
see the divineness in ordinary things.”
– November 28, 1939, paper on Plato, senior English seminar, Fieldston School

AMERICAN RITES, MANNERS AND CUSTOMS:

“I want to photograph the considerable ceremonies of our present because we tend while living here and now
to perceive only what is random and barren and formless about it. While we regret that the present is not like
the past and despair of its ever becoming the future, its innumerable inscrutable habits lie in wait for their
meaning. I want to gather them, like somebody’s grandmother putting up preserves, because they will have
been so beautiful.
There are the Ceremonies of Celebration (the Pageants, the Festivals, the Feasts, the Conventions) and the
Ceremonies of Competition (Contests, Games, Sports), the Ceremonies of Buying and Selling, of Gambling,
of the Law and the Show; the Ceremonies of Fame in which the Winners Win and the Lucky are Chosen or
Family Ceremonies or Gatherings (the Schools, the Clubs, the Meetings). Then they are Ceremonial Places
(The Beauty Parlor, The Funeral Parlor or, simply The Parlor) and Ceremonial Costumes (what waitresses wear,
or Wrestlers), Ceremonies of the Rich, like the Dog Show, and of the Middle Class, like the Bridge Game. Or,
for example: the Dancing Lesson, the Graduation, the Testimonial Dinner, the Séance, the Gymnasium and the
Picnic, and perhaps the Waiting Room, the Factory, the Masquerade, the Rehearsal, the Initiation, the Hotel
Lobby and the Birthday Party. The etcetera.
I will write whatever is necessary for the further description and elucidation of these Rites and I will go
wherever I can to find them.
These are our symptoms and our monuments. I want simply to save them, for what is ceremonious and curious
and commonplace will be legendary.”
– Guggenheim proposal, Plan for a Photographic Project, “American Rites, Manners and Customs”

FREAKS:
“There’s a quality of legend about freaks. Like a person in a fairy tale who stops you and demands that you
answer a riddle. Most people go through life dreading they’ll go through a traumatic experience. Freaks were
born with their trauma. They’ve already passed their test in life. They’re aristocrats.”

“If you’ve ever talked to somebody with two heads you know they know something you don’t.”

NUDIST CAMPS:
It’s a little bit like walking into an hallucination without being quite sure whose it is...It gets to seem as if
way back in the Garden of Eden after the fall, Adam and Eve had begged the Lord to forgive them and He, in
his boundless exasperation had said, “All right, then. Stay, Stay in the Garden. Get civilized. Procreate. Muck
it up.” And they did.

THE GAP BETWEEN ATTENTION AND AFFECT:

“You see someone on the street and essentially what you notice about them is the flaw. It’s just extraordinary
that we should have been given these peculiarities. And, not content with what we were given, we create a
whole other set. Our whole guise is like giving a sign to the world to think of us in a certain way but there’s a
point between what you want people to know about you and what you can’t help people knowing about you.
And that has to do with what I’ve always called the gap between intention and effect. I mean if you scrutinize
reality closely enough, if in some way you really, really get to it, it becomes fantastic.”

6
OTHER THOUGHTS:
“The Chinese have a theory that you pass through boredom into fascination and I think it’s true. I would never
choose a subject for what it means to me or what I think about it. You’ve just got to choose a subject, and what
you feel about it, what it means, begins to unfold if you just plain choose a subject and do it enough.”

“The thing that’s important to know is that you never know. You’re always sort of feeling your way.”

“Nothing is ever the same as they said it was. It’s what I’ve never seen before that I recognize.”

“A photograph is a secret about a secret. The more it tells you the less you know.”

“For me the subject of the picture is always more important than the picture. And more complicated. I do have
a feeling for the print but I don’t have a holy feeling for it. I really think what it is, is what it’s about. I mean it
has to be of something. And what it’s of it always more remarkable than what it is.”

“I really believe there are things which nobody would see unless I photographed them.”

PHOTOGRAPHS:
“They are the proof that something was there and no longer is. Like a stain. And the stillness of them is
boggling. You can turn away but when you come back they’ll still be there looking at you.”
— in response to request for a brief statement about photographs, March 15, 1971

Boy with a straw hat waiting to march in a pro-war parade, N.Y.C. 1967

7
 CHRONOLOGY
1923
Diane Nemerov, second child of Gertrude (née photographers who interest her most in this
Russek) and David Nemerov, is born in New period are Matthew Brady, Timothy O’Sullivan,
York City on March 14. David Nemerov is the Paul Strand, Bill Brandt, and Eugène Atget.
merchandising director of Russek’s, one of the city’s
leading fur emporia, founded in the late 1880s by
1942
his father-in-law, Frank Russek.
Following the entry of the United States into
World War II, Allan enlists in the Army and is
1927 assigned to the Photography Division of the Signal
With her mother and brother Howard, accompanies Corps and posted to Ceylon in 1944.
her father, then vice president at Russek’s, to France.
“[My governess was] French and she took care of me
1944
for the first seven years of my life ...she always looked
Diane, living in her parents’ apartment, takes
as if she had a very sad secret and she would never
self-portraits with a 5x7 inch Deardorff view
tell anyone.”
camera, documenting the progress of her pregnancy.
She encloses in her letters to Allan photographs
1928 torn from the pages of magazines, including some
Enrolls at the Ethical Culture School, a progressive of Richard Avedon’s first fashion pictures for
private school in New York City. Younger sister, Harper’s Bazaar.
Renée, is born on October 13.

1945
1933 Daughter Doon is born on April 3.
Enters Fieldston, the high school campus of the
Ethical Culture School.
1946
Diane and Allan begin a fashion photography
1936 business. David Nemerov hires them to do the
Meets Allan Arbus (born 1918, New York City), photographs for Russek’s newspaper ads.
who is working in Russek’s advertising department.
Together they attend exhibitions at The Museum of
Modern Art, including “Walker Evans: American 1947
Photographs” (1938). Over the next four years, the Arbuses publish
their photographs in fashion magazines including
Glamour, Seventeen, and Vogue. They are avid
1939 readers. The books in their library at the time
Chooses art as her major and is selected to participate
include works by Plato, Marcus Aurelius, Thomas
in a senior class seminar on English literature. On
Aquinas, Spinoza, Schopenhauer, Kierkegaard;
Chaucer’s Canterbury Tales, she writes: “he turns
Dostoevsky, Melville, Conrad, Gogol; Donne,
separately to each one and looks on them as whole
Blake, Rilke, and Yeats.
miracles not as compounds of abstract qualities,
and he seems to know that each one will always be
himself and he wants that.” 1951
The Arbuses sublet their studio for a year to live in
France and Italy and travel to Spain.
1940
Graduates from Fieldston High School in the spring
1954
Daughter Amy is born on April 16.
1941
Marries Allan Arbus in a small ceremony on April 10.
1956
Receives a Graflex 2¼ x 3¼ cm camera as a gift Working primarily with a 35mm Nikon camera,
from Allan. Takes class on technical aspects of Diane begins to number her own negatives.
photography from Berenice Abbott. They visit
An American Place, Alfred Stieglitz’s gallery, Ends her photographic partnership with Allan.
and occasionally show him their work. The Studies with Lisette Model, about whom Diane later
8
says, “It was my teacher, Lisette Model, who finally
made it clear to me that the more specific you are,
the more general it’ll be... “
1959 Visits Los Angeles in connection with an assignment
Begins keeping appointment books and working
notebooks. Separates from Allan and moves
with daughters Doon and Amy to a house in
Greenwich Village. Continues to share Allan’s
studio darkroom. Meets Marvin Israel, painter,
graphic designer, and former art director of
Seventeen. In the early stages of an enduring
friendship as lovers and colleagues, they write to
each other nearly every day.
1960 Colloquies,” portraits of a renowned parent with his
“The Vertical Journey,” her first photo essay,
is published in the July issue of Esquire. As part
of the Esquire project, she investigates and
photographs bodybuilders, beauty contests,
debutantes, derelicts, Boy Scout meetings, youth
gang meetings, a condemned hotel on Broadway
and its residents, a Russian midget who does
impersonations of Maurice Chevalier, a pet
crematorium, and members of the Jewel Box
Revue’s touring female impersonator show
“Twenty-Five Men and a Girl.” In the margin
of a letter to Marvin Israel, she writes: I would
like to photograph everybody.
1961 retirement town in the Southwest, a new kind of
Marvin Israel is appointed art director of Harper’s
Bazaar. “The Full Circle” is published in the
November issue of Harper’s Bazaar. Assigned by
Show to do a photographic essay on the subject
of Horror.
1962 Oldenburg, Frank Stella, and others. Continues to
Begins to use a 2¼ x 2¼ twin lens Rolleiflex
camera. In July, goes to Los Angeles, where she
photographs fortune-tellers to the stars for an
article published in Glamour. Meets with John
Szarkowski, who has recently been named
Edward Steichen’s successor as director of the
Department of Photography at The Museum
of Modern Art, New York.
1963 Szarkowski for his seminal exhibition, “New
Marvin Israel is fired from Harper’s Bazaar.
Diane receives a Guggenheim Fellowship for her
photographic studies of American Rites, Manners,
and Customs. Her father, David Nemerov, dies
on May 23rd In July, photographs at Sunshine Park,
a family nudist camp in New Jersey.
1964
from Show to do the photographs and text for an
article on Mae West. The Museum of Modern Art,
New York, acquires seven Diane Arbus prints for
its collection.
1965
Begins printing her square photographs with black
borders on 11x14-inch paper. Works in Washington
Square Park throughout the summer. Harper’s
Bazaar publishes “On Marriage” in May. “Familial
or her adolescent child, is published in the July issue
of Esquire. Spends several weeks photographing at
Sunnyrest, a nudist camp in Pennsylvania.
Teaches her first photography course at Parsons School
of Design. Two Diane Arbus prints are included
in The Museum of Modern Art’s fall group show,
“Recent Acquisitions”.
1966
In March, receives notification of her second
Guggenheim award. In her application she writes “I
have learned to get past the door, from the outside to
the inside. One milieu leads to another… a certain
group of young nihilists, a variety of menages, a
Messiah, a particular Utopian cult who plan to
establish themselves on a nearby island, Beauties
of different ethnic groups, certain criminal types,
a minority elite.” In April, for an assignment for
Harper’s Bazaar, begins to photograph artists living
in New York, including Roy Lichtenstein, Claes
photograph triplets and twins. In June, is diagnosed
with hepatitis and is unable to begin work on
her Guggenheim project until late August. On
assignment for The New York Times Magazine, travels
to Jamaica in December to photograph for the spring
Children’s Fashions Supplement.
1967
Is one of three photographers selected by
Documents” at The Museum of Modern Art. In
an introduction he writes “in the past decade a
new generation of photographers has directed
the documentary approach toward more personal
9
 ends… their aim has been not to reform life,
but to know it. It includes thirty Diane Arbus
photographs along with work by Garry Winogrand
and Lee Friedlander. For the exhibition she prints
some of her photographs on 16x20-inch paper.
Attends a number of pro- and anti Vietnam
war demonstrations.
1968 are published in an article entitled “The Affluent
On February 14 travels to South Carolina on
assignment from Esquire to photograph a crusading
country doctor and his patients. Seeks permission to
photograph in prisons, psychiatric hospitals, homes
for the elderly, and institutions for the mentally
retarded. In July, is hospitalized for a recurrence
of hepatitis. Resumes work in the fall and begins
teaching at The Cooper Union. In the course of the
year, The London Sunday Times Magazine publishes
five articles accompanied by her photographs. Goes
to St. Croix in December to work on her second
assignment for The New York Times Magazine
Children’s Fashions Supplement.
1969 Westbeth to raise money for the purchase of her
Suggests several story ideas to the British
magazine Nova. Travels to London on assignment
for the magazine. Ten of her photographs are
included in The Museum of Modern Art’s
traveling exhibition “New Photography U.S.A.”
Several institutions, including The Metropolitan
Museum of Art and the Smithsonian, acquire
her prints for their collections. Beginning in the
spring and for the next several years, pursues a
photographic project on residents at homes for
the retarded. Before moving to Los Angeles and
obtaining a divorce, Allan sets up a new darkroom
for her. At Marvin Israel’s suggestion, she works
on the design and content of a limited-edition
portfolio of her prints. In September, begins
seeing Dr. Helen Boigon, a psychiatrist. Travels
to Barbados on her third assignment from The New
York Times Magazine Children’s Fashions Supplement.
1970 the Federation of the Handicapped.
Moves to Westbeth, an artists’ cooperative in
Greenwich Village. The Bibliothèque Nationale
de France acquires twenty prints for its collection.
Attends the July opening of Richard Avedon’s
retrospective exhibition at the Minneapolis Institute
of Art. . In the fall, an award from the American
Society of Magazine Photographers. Completes the
first sets of her portfolio, A box of ten photographs. Is
hired by Szarkowski to do the photo research for
10
The Museum of Modern Art’s exhibition of news
photography. Discovers Weegee’s archive of eight
thousand prints and urges Szarkowski to consider a solo
show of his work. Borrows photographer Hiro’s Pentax
6x7 camera and determines to purchase her own.
1971
Her pictures of California leisure communities
Ghetto” in The London Sunday Times Magazine on
January 3. Photographs couples of all kinds for an
assignment called “Love” from Time-Life Books.
About this assignment she wrote: “(It) has opened a
lot of doors I wanted open and has got me going at
a great old pace. I have found some 60 yr old twins
who have always lived together and dress alike, a
lady in NJ with a pet monkey who wears a snow
suit and a bonnet, an incredible heart-stopping
handicapped couple ...Every day nearly there is a
fresh delight.”
Teaches a private course of a few dozen students at
own Pentax 6x7 camera. Neil Selkirk, an assistant
of Hiro’s, is among the students. In February,
accompanies Marvin Israel to Hannover, Germany,
for the opening of an exhibition of his paintings
at the Brusberg Gallery. Later that month, applies
unsuccessfully for a grant from the Ingram Merrill
Foundation to work on a project she calls “The Quiet
Minorities.” Eight of her prints are included in the
Fogg Art Museum group exhibition “Contemporary
Photographs I”. Richard Avedon, Mike Nichols,
Bea Feitler, and Jasper Johns each acquire a set of
A box of ten photographs. In May, Artforum features
images from the portfolio in an article entitled
“Five Photographs by Diane Arbus”. On June 11,
photographs the White House wedding of Richard
Nixon’s daughter, Tricia, for The London Sunday Times
Magazine. Spends the last week of June at Hampshire
College in Amherst, Massachusetts, on a teaching
assignment. In mid-July, attends the annual picnic of
On July 26, commits suicide in her Westbeth
apartment.
Teenage couple on Hudson Street, N.Y.C. 1963

11
 SELECTED EXHIBITIONS
2011 2005
People and Other Singularities
Gagosian Gallery, Los Angeles, CA
2010 2004-05
Inaugural Installation
Pilara Foundation, Pier 24, San Francisco
(March 16–July 16, 2010)
Diane Arbus: Christ in a lobby and Other
Unknown or Almost Known Works
(48 photographs, curated by Robert Gober),
Fraenkel Gallery, San Francisco (January 7–
March 6, 2010)
Diane Arbus: In the Absence of Others
(10 photographs), Cheim & Read Gallery,
New York (January 7–February 13, 2010)
2009-10 8, 2004); Los Angeles County Museum of Art
Artist Rooms: Diane Arbus
(69 photographs, collection gift to the nation
donated by Anthony d’Offay), National
Museum, Cardiff; Scottish National Gallery of
Modern Art, Edinburgh (March 13–June 13,
2010); Aberdeen Art Gallery (February 5–
April 9, 2010)
2009
Diane Arbus
(60 photographs), Timothy Taylor Gallery, London
2008-10
Diane Arbus: A Printed Retrospective, 1960–
1971
(selected Arbus photographs as reproduced in
their original magazine format, curated by
Pierre Leguillon), Kadist Art Foundation, Paris;
Moderna Museet Malmo (May 2010)
2008-09 Diane Arbus
Le Choc de la Photographie Americaine
(selected Diane Arbus photographs from the
permanent collection), Bibliothèque Nationale
de France, Paris
2007 Photology, Milan
Something Was There: Early Work by Diane
Arbus
(60 photographs), Fraenkel Gallery,
San Francisco
12
Diane Arbus: Other Faces, Other Rooms
(49 photographs), Robert Miller Gallery, New York
Diane Arbus: Family Albums
Mount Holyoke College Art Museum (September 2–
December 7, 2004); Grey Art Gallery, New York
(January 13–March 27, 2004); Portland Art
Museum, Maine (June 5–September 6, 2004);
Spencer Museum of Art, Kansas (October 16,
2004–January 16, 2005)
2003-06
Diane Arbus: Revelations
(200 photographs and supplementary ephemera),
San Francisco Museum of Modern Art,
San Francisco (November 25, 2003–February
(February 29–May 30, 2004); Museum of Fine
Arts, Houston (June 27–August 29, 2004);
The Metropolitan Museum of Art, New York
(March 8–May 30, 2005); Museum Folkwang,
Essen, Germany (June 17–September 18, 2005);
Victoria & Albert Museum, London (October
13, 2005–January 15, 2006) Fundación la Caixa,
Barcelona, Spain (February 14–March 15, 2006);
Walker Art Center, Minneapolis (July 9–
October 8, 2006)
2001
Diane Arbus: A Box of Ten Photographs
Fraenkel Gallery, San Francisco
2000-01
Diane Arbus: Untitled 1969-1971
Galerie Karsten Greve, Cologne, Germany
2000
Galerie Rodolphe Janssen, Brussels, Belgium
1996-97
Diane Arbus: Women
Robert Miller Gallery, New York; Galleria
1996
Untitled: Diane Arbus
PaceWildenstein, Los Angeles
1995 Museum, Lexington (October–December, 1984);
The Movies: Photographs from 1956 to 1958 University Art Museum, California State
Robert Miller Gallery, New York University, Long Beach (January–February, 1985);
Neuberger Museum, State University of New
York at Purchase, Purchase (April–June, 1985);
1992 Wellesley College Museum, Wellesley College,
Diane Arbus: Untitled 1970-71
Wellesley, MA (September–October, 1985);
Jan Kesner Gallery, Los Angeles
The Philadelphia Museum of Art, Philadelphia
(February–March, 1986)
1991
Diane Arbus 1984-85
(90 photographs curated by Ydessa Hendeles), Diane Arbus: Portraits on Assignment
Ydessa Hendeles Art Foundation, Toronto Robert Miller Gallery, New York; traveled to
Diane Arbus: Untitled 1970-71 Fraenkel Gallery, San Francisco
Robert Miller Gallery, New York
1984
1989 Diane Arbus
Diane Arbus: Nineteen Faces Palazzo Fortuny, Venice, Italy
Fraenkel Gallery, San Francisco
1983
Alice Neel and Diane Arbus: Children Diane Arbus: Photographs
Robert Miller Gallery, New York (under the auspices of Idea Books, curated
by Doon Arbus), Palazzo della Cento Finestre,
1987-88 Florence, 60 Fotographie; traveled to
Diane Arbus: Couples Palazzo Fortuny, Venice and Pallazzo della
Fraenkel Gallery, San Francisco Esposizioni, Milan

1987 1982
Diane Arbus: Untitled Photographs 1970-71 Diane Arbus
Fraenkel Gallery, San Francisco Berner Photo-Gallery, Bern, Switzerland

Diane Arbus: Early Works 1956-1962 Diane Arbus: Published and Unpublished Images
Robert Miller Gallery, New York Edwynn Houk Gallery, Chicago

1986 1980
Diane Arbus Diane Arbus
(curated by Madeleine Deschamps and Doon Centre Georges Pompidou, Paris (January 23–
Arbus), American Center, Paris March 17, 1980)

Diane Arbus Diane Arbus: Vintage Unpublished Photographs

(curated by Alain Dupuy), La Fundacion Robert Miller Gallery, New York; Fraenkel Gallery,
“la Caixa”, Barcelona, Spain (April–May); San Francisco
traveled to La Fundacion “la Caixa”, Madrid
(September–October) 1978
Diane Arbus
1984-87 (with Robert Frank), Fotografie Forum,
Diane Arbus: Magazine Work 1960-1971 Frankfurt, Germany
Helen Foresman Spencer Museum of Art,
The University of Kansas, Lawrence, (traveled 1976
to: Minneapolis Institute of Arts, Minneapolis Diane Arbus
(May–June, 1984); University of Kentucky Rosalind Solomon à la Galerie Zabriskie, Paris

continued on page 14

13
 continued from page 13
SELECTED
1973-79 BIBLIOGRAPHY
Diane Arbus: Retrospective
(118 photographs; curated by Doon Arbus and
Diane Arbus: A Chronology
Marvin Israel), Seibu Museum, Tokyo, ; traveled
(Aperture, New York, 2011)
to Hayward Gallery, Arts Council of Great Britain,
French edition: Diane Arbus : Une Chronologie
London (1974); Ikon Gallery, Birmingham,
(Éditions de La Martinière, in collaboration
England (1974); Scottish Arts Council, Edinburgh,
with the Jeu de Paume, 2011)
Scotland (1974); Van Abbe Museum, Eindhoven,
The Netherlands (1974); Rijksmuseum Vincent
Diane Arbus: The Libraries
Van Gogh, Amsterdam (1974); Lenbachhaus
(Fraenkel Gallery, San Francisco, 2005)
Städtische Galerie, Munich (1975); Von der Heydt
Museum, Wupperthal, Germany (1975); Frankfurter
Revelations: Diane Arbus
Kunstverein, Frankfurt (1976); 1976-78 toured
(Random House, New York, 2003)
fourteen galleries and museums throughout Australia
British edition: Revelations: Diane Arbus
under the auspices of the Australian Arts Council,
(Cape, 2003)
including the Australian Centre for Photography,
German edition: Revelations : Diane Arbus
Sydney (1977); 1978-79 toured seven galleries and
(Schirmer/Mosel, 2003)
museums throughout New Zealand under the
auspices of the Arts Council of New Zealand.
Untitled: Diane Arbus
(Aperture, 1995; revised edition 2011)
1972-75 French edition: Sans Titre : Diane Arbus
Diane Arbus (Éditions de La Martinière, 1995, revised
(125 photographs, curated by John Szarkowski), edition 2011)
Museum of Modern Art, New York; traveled to German edition: Ohne Title : Diane Arbus
Baltimore (1973); Worcester Art Museum, Worcester, (Schirmer/Mosel, 2011)
MA (1973); Museum of Contemporary Art, Chicago
(1973); Walker Art Center, Minneapolis (1974); The
Diane Arbus: Magazine Work
National Gallery of Canada, Ottawa (1974); Detroit
(Aperture, New York, 1984)
Institute of Arts, Detroit (1974); Witte Memorial
Museum, San Antonio, TX (1974); New Orleans
Diane Arbus
Art Museum, New Orleans (1974); University Art
(Aperture, 1972; revised fortieth-anniversary
Museum, University of California, Berkeley (1975);
edition, 2011);
Museum of Fine Arts, Houston (1975); Florida Center
French edition: Diane Arbus
for the Arts, University of South Florida, Tampa
(Éditions de La Martinière, in collaboration
(1975); Krannert Art Museum, University of Illinois,
with the Jeu de Paume, 2011)
Champaign (1975)
German edition: Diane Arbus
(Schirmer/Mosel, 2011)
1972
Diane Arbus Portfolio: 10 Photos The Aperture Monograph of 80 photographs,
Venice Biennale, Venice published in 1972, has sold more than 300,000
copies.
1971
Contemporary Photographs I The French editions Diane Arbus: A Chronology.
Fogg Museum, Harvard University, Mass. Sans Titre : Diane Arbus, and Diane Arbus are published
on the occasion of the exhibition.
New Photography U.S.A.
Museum of Modern Art, New York; toured the
United States and Canada

1967
New Documents
(with Lee Friedlander and Garry Winogrand /
32 photographs, curated by John Szarkowski),
Museum of Modern Art, New York
14
AROUND THE EXHIBIT
TUESDAY 18TH OCTOBER, 6pm-8:30pm

Screening and talk presented by Jeff Rosenheim, Curator of the Photographs Department,
The Metropolitan Museum of Art, New York; and Neil Selkirk, Photographer and exclusive printer for
The Estate of Diane Arbus.

“Who is Marvin Israel”, 2005 (42’ / English with simultaneous French translation).
Directed by Neil Selkirk and Doon Arbus.
Documentary on the enigmatic Marvin Israel (1924–1984); artist, designer, art director and teacher. Israel’s
influence on Diane Arbus, Richard Avedon, Robert Frank, Lisette Model and Lee Friedlander, among others, is
explored in the words of those who knew him.
Discussion with audience.

“A Slide Show and Talk by Diane Arbus,” 1970 (40’ / VO stF).

Compiled and edited by Neil Selkirk, Doon Arbus and Adam Shott.
In an original audio recording of a 1970 slide presentation, Diane Arbus speaks about photography using
examples of her own work and other photographs, snapshots and clippings from her collection.
Discussion with audience.

WEDNESDAY 19TH OCTOBER, 5pm-7:30pm

Screening and talk presented by Jeff Rosenheim, Curator of the Photographs Department,
The Metropolitan Museum of Art, New York; and Neil Selkirk, Photographer and exclusive printer for
The Estate of Diane Arbus.

“Who is Marvin Israel”, 2005 (42’ / English with simultaneous French translation).
Directed by Neil Selkirk and Doon Arbus.
Documentary on the enigmatic Marvin Israel (1924–1984); artist, designer, art director and teacher. Israel’s
influence on Diane Arbus, Richard Avedon, Robert Frank, Lisette Model and Lee Friedlander, among others, is
explored in the words of those who knew him.
Discussion with audience.

“A Slide Show and Talk by Diane Arbus,” 1970 (40’ / VO stF).

Compiled and edited by Neil Selkirk, Doon Arbus and Adam Shott.
In an original audio recording of a 1970 slide presentation, Diane Arbus speaks about photography using
examples of her own work and other photographs, snapshots and clippings from her collection.
Discussion with audience.

Programs presented in collaboration with the FIAC.

Reservations required: infoauditorium@jeudepaume.org.

15
 REPRODUCTION GUIDELINES FOR PRESS IMAGES
The images are available for press uses solely in connection with “Diane Arbus” an exhibition at
the Jeu de Paume, October 18, 2011–February 5, 2012.

The image(s) may not be cropped or surprinted.

The image(s) may only be reproduced prior to or during the exhibition at the Jeu de Paume.

Any reproductions in electronic media must be taken down within 60 days following February 12, 2012.

Reproduction of each photograph must be accompanied by the exact title and copyright notice
that appears at the bottom of the photograph and as set forth above.

The digital files containing the Press Images must be destroyed following its intended use. The
file may not be stored, copied or transmitted to any third party by any means, unless related to
editorial publicity for the exhibition at the Jeu de Paume.

Installation Photographs or Video Footage: To the extent that the Jeu de Paume allows still
photography or video recording of the installation for press purposes, any photography and video
recording shall be limited to “long shots” of the installation (i.e. without close-up on particular
images). Close-ups of the Press Images may be photographed or recorded so long as the frames of
the prints embodying the Press Images is also included in the photograph or video footage of that
Press Image. Photographs or video footage of the installation and/or press images may only be used
for press and promotional purposes of the exhibition at the Jeu de Paume and may not be used for
any other purpose at any time.

Any reproduction of any Press Images for any purpose other than press and promotion of the Diane
Arbus exhibition at the Jeu de Paume, or reproduction of any other images by Diane Arbus at any
time require written permission in advance and must be submitted to The Estate of Diane Arbus:

by email to jpelosi@pwes.com

or by mail or fax c/o Pelosi Wolf Effron & Spates,

233 Broadway, Suite 2208, New York New York 10279,
fax (212) 571-9149.

All requests must be submitted with reasonable notice of any publication deadline and The Estate
of Diane Arbus shall consider each request on a case by case basis.

16
DA 01

Child with a toy hand grenade in Central Park, N.Y.C. 1962

Copyright © The Estate of Diane Arbus

DA 02

Identical twins, Roselle, N.J. 1967

Copyright © The Estate of Diane Arbus

DA 03

Boy with a straw hat waiting to march in a pro-war parade, N.Y.C. 1967

Copyright © The Estate of Diane Arbus

DA 04

Untitled (6) 1970–71

Copyright © The Estate of Diane Arbus

DA 05

A young man in curlers at home on West 20th Street, N.Y.C. 1966

Copyright © The Estate of Diane Arbus

DA 06

Teenage couple on Hudson Street, N.Y.C. 1963

Copyright © The Estate of Diane Arbus

DA 07

Xmas tree in a living room in Levittown, L.I. 1963

Copyright © The Estate of Diane Arbus

 INFORMATION
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Free and unlimited admission to the exhibitions and all
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Thanks to the annual pass, enjoy special rates and offers at the venues of the
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from 5 October 2011 to 25 January 2012), Bibliothèque Nationale de France,
Fondation Cartier, Musée du Louvre, Musée d’Orsay, Orchestre de Paris, Cinémathèque française,
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CONTACTS
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